Hasta La Ideas

The New York Times has named Michael Greenspon general manager news services and print innovation, a new role under the Times’ Print Products and Services umbrella.

Greenspon previously served as the Times’ general manager, news services and international.

“Michael will be charged with overseeing efforts throughout the company to revitalize print and facilitate innovation geared toward ensuring a modern and evolving newspaper for the digital age,” wrote Roland Caputo, executive vip of Print Products and Services, and Meredith Levien, executive vp and chief revenue officer, in a memo.

Dans cette nouvelle série, l’artiste Leonardo Betti s’est intéressé à ces petites choses qui s’avèrent déterminantes par les larges conséquences qu’elles peuvent causer. Cet effet papillon, comme on l’appelle, a ici été mis en image par des motifs (molecules) combinés à plusieurs formes abstraites symbolisant l’ADN, générant ainsi quatre papillons uniques. À découvrir.

Here’s Australian inventor Mark Murray being openly mocked on Shark Tank last year. The sharks not only declined to fund him, but laughed at him:

Murray persisted with the Hamdog on his own, and began selling them at fairs in Australia this summer:

Somehow, the Hamdog went viral. This week everyone from the BBC to CNET, from Reddit to CNBC picked up on Murray’s invention. If you’re part of any food-based groups on Facebook you’ve probably seen it come across your feed.

Murray patented the bun in the ‘States back in 2009. These are the most awesome patent drawings ever:

On Hamdog’s Facebook page, commenters suggested that Murray had ripped off the Hamdog, insisting that it had been invented in 2005 by American Chandler Goff. We looked into it and found Goff’s invention to be significantly different:

It appears that only the name is the same. Should conflict arise, it ought be a simple matter for one party to call theirs a Hotburger.

Murray is currently seeking Hamdog franchisees. I can just about guarantee that if somebody starts selling these in New York City, there’s going to be a line around the block. People are still queuing up for those Cronuts, for chrissakes.

Movie: Dezeen goes behind the scenes at the factory where the fibreglass blocks that comprise BIG’s Serpentine Gallery Pavilion were made in this exclusive video produced for material manufacturer Fiberline.

Bjarke Ingels’ firm’s Serpentine Gallery Pavilion opened in London on 10 June 2016, and is a huge undulating structure composed of thousands of fibreglass boxes stacked on top of each other.

BIG‘s Rune Hansen, who was project manager for the project, explains that the firm saw the pavilion as an opportunity to test what it is possible to create with its fibreglass material.

“To build a pavilion like this for us as an architecture office is extremely interesting,” he explains in the movie. “It is kind of a lab where we can test materials – the visual aesthetics as well as structural conditions.”

The pavilion, which resembles a wall of bricks that has been “unzipped” to create a void inside, consists of around 1900 hollow fibreglass blocks, which are attached by simple metal connectors.

The blocks themselves are made from sheets of fibreglass of various thicknesses, with heavier blocks at the base and lighter ones making up the upper layers.

“We used three different gauges,” Hansen reveals. “The bottom boxes are 10 millimetres [thick], the middle boxes are six millimetres and the top boxes are three millimetres. It’s a lightweight material, but at the same time it’s strong.”

The fibreglass boxes were manufactured at the Middelfart factory of Danish company Fiberline Composites, which more commonly produces composite structural profiles for use in bridges or wind turbine blades.

BIG used a product called Lay Light for the pavilion, which is a translucent material consisting of glass fibres impregnated with a polyester resin.

“All the boxes for this year’s Serpentine Gallery Pavilion were made out of Lay Light material and assembled in our factory in the centre of Denmark,” says Fiberline vice president Stig Krogh Pedersen. “The material is as strong as steel, but only has about one fifth of the weight.”

The material is produced by a technique called pultrusion, in which thousands of strands of glass fibre are pulled through a mould and impregnated with resin.

“We have a production line that grabs the fibres and pulls them through a die, Pedersen explains. “That way we have a continuous process to make profiles as long as we like.”

Fiberline’s factory is clad with the material.

“We used our factory as a kind of prototype,” Pedersen says. “We’ve got a lot of experience with the Lay Light material by doing this prototype of 23,000-square-metres.”

BIG is also using the material to clad its soon-to-be-completed Transitlager project, a conversion of a warehouse in Basel into offices, apartments and galleries.

Subscribe to Dezeen’s YouTube channel for the latest architecture and design movies

“The Serpentine Gallery Pavilion is a temporary structure,” Hansen says. “But BIG is also designing a permanent structure using Lay Light to cover 6,000 square metres of the building.”

Hansen says that as well as its strength, the translucency of the material makes it interesting for architects.

“When you go close to it you will recognise the details, you’ll see the actual components of the fibreglass,” he explains.

“At night, the pavilion starts to glow because of this translucency. It’s very beautiful.”

BIG’s structure marks the 16th edition of the annual Serpentine Gallery programme, which offers architects the chance to create their first built structure in the UK. The pavilion is open until 10 October 2016 at Kensington Gardens in London’s Hyde Park.

This movie was filmed by Dezeen in London and Middelfart for Fiberline.

The post BIG and Fiberline reveal manufacturing process behind Serpentine Gallery Pavilion 2016 appeared first on Dezeen.